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Bring fact-checked results to the top of your browser search. The evolution of modern theatrical production Underlying the theatrical developments of the 19th century, and in many cases inspiring them, were the social upheavals that followed the French Revolution.
Throughout Europe the middle class took over the theatres and effected changes in repertoirestyle, and decorum. In those countries that experienced revolutionary change or failure, national theatres were founded to give expression to the views and values of the middle class, whose aspirations in these cases coincided with a more general movement of national liberation.
In Englandwhere the Industrial Revolution was more advanced than in the other European countries, the middle class had to struggle for its own theatres against the entrenched power of the two patent houses licensed by the CrownDrury Lane and Covent Gardenwhich had enjoyed an almost total monopoly of dramatic theatre since As early asattempts were made to evade the legal restrictions on building new theatres.
This is probably because there were already sufficient illegal theatres in operation when the act was passed. The boulevard theatres of Paris experienced less trouble in establishing themselves. As the new class came into the theatres, the theatres were cleaned up.
They also dropped the melodrama and attracted a wide audience with the social comedies of Tom Robertson, making a considerable fortune in the process. Throughout the 19th century, cities throughout Europe and North America exploded in size, and industrial centres attracted labour to their factories and mills.
The working-class suburbs of cities and the industrial towns created their own demand for entertainment, which led to the construction of large theatres.
Accelerating this change was the growth of the railways. The pattern of theatre was disrupted in England as productions were mounted in London and sent on tour. The old provincial stock companies folded and theatres became touring venues rather than producing houses.
A breed of managers arose who made money from the possession of the bricks and mortar property rather than by presenting their own productions. In the United States the Theatrical Syndicate established great fortunes from the New York theatres and the almost unlimited touring circuit that the railways opened up.
The change in status from enterprise to industry gave rise to the commercial theatre systems of the West End in London and Broadway in New York City. Improvement in travel in general made it possible to increase the links between the two systems early in the 20th century, and the exchange of productions further extended the possibilities of profitable exploitation.
Modern theatre began around with the revolt of the younger generation against the material injustices of society. Those in revolt founded so-called independent theatres to present a more critical or scientific view of the workings of society or so-called art theatres to rise above vulgar materialism with the establishment of aesthetic standards.
The independent theatres took the Meiningen Players as their starting point. The art theatres looked to Wagner for inspiration. It hired rooms or theatres where they were available and sold tickets for its performances to a closed membership.
In this way it avoided censorship. The major impact the group made was with a number of naturalistic plays. Following on the scientific developments and the philosophical skepticism of the 19th century, the social reformers of the last two decades of the century probed into the causes of human behaviour and postulated that the meaning of human character was to be found in its interaction with the physical, social, and economic environment.
The actors were expected to ignore the audience and to behave and speak as though they were at home. Zola, the philosopher of the movement, had deplored the fact that the Naturalist theatre began by creating an external representation of the world instead of concentrating on the inner state of the characters.
Strindberg showed that a few carefully selected properties could suggest an entire room.
With the ideas of Antoine and Strindberg, the days of flapping canvas doors and kitchen shelves painted on the walls of the set came to be numbered. The more natural and detailed the acting became, the more it clashed with a painted background. The new pattern of theatre set in France was imitated in Germany during the same period.A group of people that, whenever one is involved in a production, others are almost guaranteed to show up at some point.
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Theatre - The evolution of modern theatrical production: Underlying the theatrical developments of the 19th century, and in many cases inspiring them, were the social upheavals that followed the French Revolution. Throughout Europe the middle class took over the theatres and effected changes in repertoire, style, and decorum.
In those . Mark Kerr, 46, stands in a Phoenix area used car lot where he once worked. Roy Anthony Martin was born on September 8, and fell asleep on September 16, These 30, days were not wasted. Most of what follows is borrowed from a website belonging to TAPESTRY Christian Storytelling Alliance, a relatively new ministry that is blessed with talent and dedication, but a little short of funds at present.A small budget has not kept it from doing big things, however.